Stanisław Skrowaczewski commands a rare position in the international musical scene, being both a major conducting figure and a highly-regarded composer.
Born in Lwów, Poland, Skrowaczewski began piano and violin studies at the age of four, composed his first symphonic work at seven, gave his first public piano recital at 11, and two years later played and conducted Beethoven's Third Piano Concerto. A hand injury during the war terminated his keyboard career, after which he concentrated on composing and conducting. In 1946 he became conductor of the Wrocław (Breslau) Philharmonic, and he later served as Music Director of the Katowice Philharmonic (1949-54), Kraków Philharmonic (1954-56) and Warsaw National Orchestra (1956-59).
Skrowaczewski spent the immediate post-war years in Paris, studying with Nadia Boulanger and co-founding the avant-garde group Le Zodiaque. After winning the 1956 International Competition for Conductors in Rome, he was invited by George Szell to make his American debut, conducting the Cleveland Orchestra in 1958. This led to engagements with the New York Philharmonic, Pittsburgh and Cincinnati Symphonies and, in 1960, to his appointment as Music Director of the Minneapolis Symphony Orchestra (now the Minnesota Orchestra). Skrowaczewski has regularly conducted the major orchestras of the world, as well as the Vienna State Opera and the Metropolitan Opera. He has made international tours with the Concertgebouw, French National, Warsaw and Hamburg orchestras, and twice toured the Philadelphia Orchestra to South America and the Cleveland Orchestra to Australia.
From 1984 to 1991, following 19 years as Music Director of the Minneapolis Orchestra, Skrowaczewski was appointed Principal Conductor of the Hallé Orchestra. With the Hallé he gave concerts across England, led tours throughout Europe and the United States, and recorded for RCA, Chandos and Pickwick/Carlton. In 2007 Skrowaczewski was appointed Principal Conductor of the Yomiuri Nippon Symphony Orchestra for three highly successful seasons, during which time many of his performances were recorded live for Columbia Records.
An active composer, Skrowaczewski’s most recent work, Music for Winds (2009), has already been performed by the Bavarian Radio Symphony, German Radio Philharmonic, Yomiuri Nippon Symphony and Minnesota orchestras. His Symphony was premiered in 2003 by the Minnesota Orchestra; his Concerto for Orchestra was shortlisted for a Pulitzer Prize in 1999, and his Violin Concerto was commissioned and premiered by the Philadelphia Orchestra. Earlier works performed by major European and American orchestras include the Concerto for Clarinet, Overture 1947, which won the Szymanowski Competition in Poland, Concerto for English Horn and Ricercari Notturni, recipient of a Kennedy Center Friedheim Award in 1976.
Skrowaczewski's interpretations of the Bruckner symphonies have earned him the Gold Medal of the Mahler-Bruckner Society, whilst his programming of contemporary music at the Minnesota Orchestra has been acknowledged with five ASCAP awards. An extensive discography includes recordings for many of the major labels and many celebrated earlier recordings have been re-released on CD. Skrowaczewski's recordings of Bruckner's 11 symphonies and Beethoven's nine symphonies with the Saarländischer Rundfunk orchestra for Arte Nova received enormous critical acclaim, with the Bruckner winning the 2002 Cannes Classical Award in the ‘Orchestral 18/19 Century’ category. Other recent releases include Shostakovich's First and Sixth Symphonies with the Hallé Orchestra on their own label and Shostakovich’s Tenth Symphony with the Deutsche Symphonie Orchester Berlin, recorded live in concert in 2003.
Guest engagements continue to take Skrowaczewski across North America, Europe and Japan. In the 2011 Skrowaczewski made a long-awaiting return to the Berlin Philharmonic conducting three memorable performances of Bruckner's third symphony. Highlights of his 2011/12 season include returns to the Bavarian Radio Symphony and Tonhalle Zurich in Europe; Saint Louis Symphony, Nashville Symphony, and Minnesota orchestras in the USA; and three visits to Japan, where he will conduct both Yomiuri Nippon and NHK symphony orchestras in Tokyo, and the Deutsche Radio Philharmonie on tour across the country.
Skrowaczewski is currently the Conductor Laureate of the Minnesota Orchestra, Principal Guest Conductor of the Deutsche Radio Philharmonie, and Honorary Conductor Laureate of the Yomiuri Nippon Symphony Orchestra in Tokyo.
Stanislaw Skrowaczewski is represented by Intermusica.
2011/12 season / 650 words. Not to be altered without permission. Please destroy all previous biographical material.
English Reviews
Berlin Philharmonic Orchestra / Hartmann; Bruckner
“Skrowaczewski may have discovered his love for a full, rousing brass sound in America. And now the Philharmonie have once again mastered this sound. Yet the slight, unassuming conductor also gave the Philharmonie plenty of room; he was happy to place his trust in them. Incidentally, he last conducted the orchestra 25 years ago.”
“Skrowaczewski is what you might call a tried and tested Bruckner expert. He allowed Bruckner’s music to flow, and shaped the harsh complexity of the opening movement of the third symphony most effectively. But he is not a man of conflict and rebellion; at heart, he is a romantic, an analyst of beauty. Perhaps this comes from the conductor’s life experience and wisdom. The Adagio came across as a sweet seduction, and the finale was impressively staged, yet it faded away without any great after-effects.”
“But first we experienced all the ills of the modern world, as seen by Karl Amadeus Hartmann fifty years ago, played by armour-plated brass and flickering strings. [...] By the end of the half-hour piece, the orchestra had brutally hammered home its proclamation, and was silent once again.”
Volker Blech, Berliner Morgenpost (Berlin), May 2011
“The agile Polish conductor had returned to the Berlin Philharmonie, at the age of 87. Stepping in for the seriously ill Seiji Ozawa (75), Skrowaczewski was an overwhelming success, acclaimed by a standing ovation at the end of the concert. The applause wasn’t only for his intellectual presence and physical fitness, but also for his astonishing clarity in conducting a long Bruckner symphony and a difficult, unknown piece from the German post-war repertoire.”
“Bruckner’s third symphony was an undeserved consolation [to the Hartmann]. No sudden explosions of trumpet triads out of an empty atmosphere of string tremolos, no stark images of an empty cosmos; instead, the piece was shaped from the very beginning in the classical style. And yet in the moments of greatest refinement and certainty, such as the self-satisfied country dances of the Scherzo or the lyrical flute entry, you could still smell a touch of the mildew which had settled over the orchestra after their vivid depiction of catastrophe in Hartmann’s piece.”
Matthias Nöther, Berliner Zeitung (Berlin), May 2011
“Stanisław Skrowaczewski is a force of nature. Now in his late 80s he led the Berliner Philharmoniker in an energetic and intense program that was transmitted live as part of the Berliner Philharmoniker Digital Concert Hall.”
“Before leading the orchestra into the third movement, Skrowaczewski paused and smiled at the strings. It was all they needed. Unlike the Hartmann Gesangsszene this work would seek, and ultimately find, reintegration. Skrowaczewski energetically led the orchestra through the surprising key changes that are used to shock this work out of its minor key opening.”
“After the celebratory closing, Skrowaczewski paused briefly, then with a flourish he set his baton on the conductor's stand and accepted applause. He was so well received that the audience continued clapping even after the orchestra had left the stage. Skrowaczewski made one last appearance to the delight of the hall, walking to the edge of the steps and waving. It was a thrill to have the opportunity to hear this great conductor, who represents one of our final connections to an age that is all but lost. How wonderful to have this performance preserved in the archives of the Berliner Philharmoniker.”
SonicLabyrinth.blogspot.com, May 2011
“By the end of Hartmann’s Gesangsszene, the Philharmonie was silent. They had already said everything that this piece could contribute to the evils of this world. They had allowed themselves to be dragged by the 87-year-old conductor Stanisław Skrowaczewski through the blackest depths of technology, to make metallic machine music, with flickering strings.”
“Then the proven Bruckner expert tackled Bruckner’s third symphony. According to Skrowaczewski, the first movement is all about marking out the boundaries and creating the right effects.”
“The brass section played with great majesty, and the second theme was bursting with lyrical string playing, punctuated with firm caesuras. The Polish conductor showed his analytical side, and his fondness for great sentiments.”
Daniel Wixforth, Der Tagesspiegel (Berlin), May 2011
Utah Symphony / Bruckner: Symphony No.9
“No orchestra in its right mind could refuse the Polish-born conductor a long-term contract. His musicality and innate interpretative talents would benefit any ensemble. He is among the last of a long line of great conductors and a worthy successor to some of the profession's legends […]”
“Walking onstage he may look like a frail, elderly gentleman, but looks are deceiving. Once Skrowaczewski steps onto the podium he ignites the orchestra with his passion. With age his conducting has become less vigorous and bold, but with his minimal gestures he nevertheless imparts to the orchestra that fiery passion he has for the music. He shows the musicians and audience that one doesn't need to have choreographed moves on the podium when one has the kind of deep understanding for the music that Skrowaczewski certainly has. And with an orchestra of talented players at his fingertips, the result of this collaboration is magical.”
“Skrowaczewski is one of today's foremost interpreters of Bruckner's symphonies. He has recorded the Ninth three times now (with the Minnesota Orchestra, the Saarbrücken Radio Symphony in Germany and most recently with Japan's Yomiuri Nippon Symphony Orchestra), and he brought his perceptiveness and penetrating understanding of this work to his Utah Symphony performance.”
“The performance was remarkable in many ways, not the least of which was the fact that Skrowaczewski conducted the nearly hour-long symphony from memory. Without the aid of a score he still captured the nuances and brought out the finely woven interplay of the voices. His tempos in the outer movements tended towards the broad and expansive and that allowed him a much larger palette of expressions that penetrated the core of the music.”
“He coaxed a lush romantic sound from his forces that served Bruckner's music well. The orchestra played magnificently, not only the expanded brass section, which Skrowaczewski never allowed to overpower the rest of the ensemble, but also the other sections as well. The playing was articulate and beautifully executed and gorgeously lyrical, even in the brisk but not overly fast scherzo.”
“This was a Bruckner one couldn't help but love and admire. And one can only hope Skrowaczewski makes it back to Salt Lake City in the not too distant future.”
Edward Reichel, Deseret News, November 2010
“Conductor Stanislaw Skrowaczewski brought his formidable musicianship to Abravanel Hall to lead the Utah Symphony in Bruckner’s ninth and last symphony […] The 87-year-old conductor’s long history with the Utah Symphony — he led the orchestra in its first concerts in Abravanel Hall, back in 1979 — is dwarfed by his lifelong love affair with the Bruckner symphonies, which he discovered as a 7-year-old boy.”
“Even more astonishing than the fact that he conducted the hourlong symphony from memory was Skrowaczewski’s command of the orchestra. “Conducting … doesn’t cost me any physical effort, only mental work,” he said in a preconcert interview with The Salt Lake Tribune. “I always try to make my gestures precise and clear.” Indeed, it was remarkable to watch the conductor gesture ever so subtly with his left hand and then hear the orchestra respond instantaneously.”
Catherine Reese Newton, The Salt Lake Tribune, November 2010
hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra) / Chopin, Shostakovich
“There are many good reasons to regard the hr-Sinfonieorchester’s opening concert of the season at the Alte Oper as one of the most brilliant and splendid performances this orchestra has ever given. The main reason this concert proved so extraordinary was the conductor, Stanislaw Skrowaczewski. This memorable musician has conducted all the major orchestras in America and Europe over the last five decades, and he is a living legend as far as performances of Bruckner’s works are concerned. In just four weeks, Skrowaczewski will celebrate his 87th birthday, yet he remains physically fit, with a sharp mind and great artistic agility.”
“Structural clarity reigned amidst the orchestral turmoil, the dynamics were polarised and contrasted to their extremes, and Skrowaczewski brought the individual solo voices to the fore with great expression.”
FAZ Rhein-Main-Zeitung, September 2010
“The 86-year-old currently boasts half a century of success as both conductor and composer, including regular engagements as guest conductor of the HR-Sinfonieorchester since 1979. Together with Ewa Kupiec on the piano, their performance of Chopin’s piano concerto was a brilliant opening for the new season.”
“Under Skrowaczewski’s baton, the orchestra played with great power and boldness.”
“Spellbound by the performance, they rewarded the musicians with tumultuous applause.”
Alsfelder Allgemeine, September 2010
“This was the ideal team to perform the music of Polish composers. 87-year-old Stanislaw Skrowaczewski has never relinquished his passion for his native countrymen, despite his many years conducting in America.”
“The orchestra played with flawless balance and faultless strings, as if greeting an old friend.”
“The experienced conductor proved himself a shrewd customer here [in Shostkovich’s Symphony No.5] as well, drawing rich and colourful playing from the orchestra.”
“The elderly statesman of conducting received the audience’s appreciative applause in amongst his musicians.”
Frankfurter Neue Presse, September 2010
Hallé Orchestra / Beethoven, Shostakovich
“…one of the highlight concerts of Manchester’s current season…
That’s assessing it on musical quality alone – quite apart from the heroic journey made by the 86-year-old conductor, Stanislaw Skrowaczewski, to get here… As a former principal conductor of the Hallé, he is a man who takes loyalty very seriously…
Skrowaczewski conducted Shostakovich’s 10th symphony with all the authority of one who knew its composer and his times at first hand. There was nothing stuffy about it either, as he achieved extraordinary dynamism but kept its explosiveness under constant control…
Getting pace and weight right in the rejoicing of the last movement can be tricky: too light and it sounds flippant, too heavy and it seems vindictive. This was perfect – and brought its own irresistible smile.”
City Life, April 2010
Bayerischen Rundfunks Symphonieorchester / Bruckner, Skrowaczewski
“Skrowaczewski’s performance of Bruckner’s much undervalued Second Symphony was an unforgettable experience. He brought out the light-heartedness of the first movement, pulsating with cheerfulness. The conductor approached the piece with unbounded energy, and the musicians of the BR Symphony followed with delight. The numerous general rests (Bruckner’s ‘pauses for breath’) were not simply empty spaces, and did not interrupt the flow, which Skrowaczewski phrased effortlessly whilst maintaining the momentum of the piece: the splendid build-up from the gentle beginning of the adagio, followed by the bubbling scherzo and energetic finale. An absolute triumph!”
Münchner Merkur, December 2009
“The concert-going public in Munich is a little sensitive when it comes to performances of Bruckner, and unfamiliar interpretations are initially met with scepticism. The rapturous applause that greeted Stanislaw Skrowaczweski’s performance with the Bavarian Radio Symphony Orchestra should therefore be recognised as high praise, and not simply a polite pat on the shoulder for the 86 year old conductor and his musicians. Yet Skrowaczewski, expert as he is on Bruckner, did not behave like a guru on the podium, casting a spell over the audience; he came across rather as down-to-earth, in the tradition of the Kapellmeister of days gone by.
The integrity of Skrowaczewski’s interpretation was most apparent in the second movement, where the considerable level of craftsmanship and the almost naïve directness of the music, given scope to speak for itself, moved the audience in its simplicity. The piece stood before us, exactly as it was, without extraneous flourishes, with its strengths and weaknesses, and therefore with great effectiveness.”
Süddeutsche Zeitung, December 2009
Deutsche Radio Philharmonie / Skrowaczewski, Beethoven, Brahms
“Stanislaw Skrowaczewski wrote his piece Music for winds as a resigned reaction to the current decline of “high art” and consequent rise of “superficial art”. It is a tragic piece, its instrumentation full of character, with beautiful moments full of hope but also aggressive moments of rebellion.
Skrowaczewski wove the orchestral part of Beethoven’s 4th piano concerto with refinement. Even the ‘opera scene’ in the central movement was shot through with classical unity and musical unanimity between the performers. This was a brilliant performance, greeted with rapturous applause.
In Brahms’ 4th Symphony, the conductor must translate the dense score into a rich appassionata, constantly kindling the flames to the point of volcanic explosion. Skrowaczewski (aged 86) championed the piece with passion: each phrase was dramatic yet profound, and admirably true to the original score. The orchestra performed at their very best.”
Saarbruecker Zeitung, December 2009
Dresden Philharmonic / Bruckner, Szymanaowski
“Stanislaw Skrowaczewski… demonstrated in the violin concerto how to partner an orchestra without resorting to extravagant gestures, whilst keeping the overall view of the piece in mind. In Anton Bruckner’s 2nd Symphony in C minor, he showed how to steer such a giant with only few visible gestures. What a contrast to the leaping, waving, dancing “stars of the podium”! We already have Skrowaczewski to thank for a recording of the complete Bruckner Symphonies, which rightly puts him in the category of Bruckner specialist.
It was quickly obvious how much intensive work had gone into rehearsing this piece, in order to achieve such a high standard of performance. Because of this, Skrowaczewski could keep control with very few means. He allowed the Philharmonie plenty of space to play, for which they thanked him with their dedication to the music.
It was especially obvious in the finale, made up of so many sound pictures, that we were dealing with a conductor who understood how to use the diverse abilities of the Philharmonie, and harness them to give a wildly applauded performance.”
Dresdner Neueste Nachrichten, November 2008
Hallé Orchestra / recording of Shostakovich symphonies 5 & 10
"Arguably the most completely satisfying version of Shostakovich's Tenth on disc - thrillingly played and comfortably seeing off most of the bigger guns."
BBC Music Magazine, February 2008
New Skrowaczewski Flute Concerto a marvel
Stanislaw Skrowaczewski, 84, has graduated from being an institution to being a phenomenon. It's hard to think of another living musician who has trod a comparable path: from prodigy -- he wrote his first orchestral composition at age 7 -- to elder statesman. Both facets of the Polish-born composer-conductor, who has conducted the Minnesota Orchestra in each of the past 47 seasons, are on striking display this week in Orchestra Hall (an edifice he helped build).
The program's centerpiece is the world premiere of Skrowaczewski's "Fantasia for Flute and Orchestra - The Piper in the Night," commissioned by the Saarbrücken [Germany] Radio Symphony (with which the conductor has lately recorded the Beethoven symphonies) and written for flautists Adam Kuenzel, the Minnesota Orchestra's principal, and Roswitha Staege, formerly principal in Saarbrücken. Effectively a flute concerto (with the first of its several cadenzas at the very beginning), the work, in three movements, is scored for both the standard flute and its lower-pitched, more somber alto sibling. Much of the best writing is for the latter, which Kuenzel plays gorgeously.
Skrowaczewski's music typically feels open-ended. His scores aren't self-contained, neatly wrapped musical objects; they are a means for conversing with their maker - especially when he's on the podium.
Kuenzel's performance is masterful (though I wish he could dispense with the score and address himself directly to the audience). Whether playing long, tensile lines or incorporating extended techniques (bent notes, key clicks, blowing into the instrument), he is intensely and unfailingly musical.
Framing the "Fantasia" are two of Vienna's crown jewels: Mozart's "Jupiter" Symphony and Brahms' Second. If Skrowaczewski's vigorous "Jupiter" seemed a bit retro in sonority with overweight strings, his Brahms was glorious: rich but not padded. The Adagio, in particular, attained a tragic nobility that recalled the legendary conductors of old.
Larry Fuchsberg, Star Tribune, October 2007
Skrowaczewski makes concert memorable
Stanislaw Skrowaczewski belongs to a small club of 20th century dual composer/conductors whose distinguished ranks include names like Mahler, Strauss, Bernstein and Boulez. That the 84-year-old continues to pursue both careers into the 21st century is astonishing.
This week, the Minnesota Orchestra is giving the premiere performances of the latest work by its conductor laureate: a flamboyant, three-movement sonic exercise for flute and percussion-heavy orchestra titled "Fantasie per Flauto ed Orchestra, Il Piffero della Notte ". The composer conducted the first performance Thursday, with Principal Flute Adam Kuenzel as soloist.
Typically, Skrowaczewski tried to direct the majority of the resulting applause to the soloist and performers and not to himself. The 20-minute work, according to program notes, was commissioned by the Saarbrücken Radio Symphony Orchestra, where Skrowaczewski is principal guest conductor, and it was written for that orchestra's flautist and her husband, a percussionist. It requires not only a huge percussion battery, but a flautist who has to switch frequently between the standard orchestral flute and the longer alto flute.
A first reaction is that it's quite a showpiece - a cavalcade of instrumental colors and shifting moods. It's filled with solo cadenzas. The three movements proceed almost without pause and they range from pounding Stravinsky-style chords to rapid figurations, "bent" notes, glissandos, and a tremendous selection of percussive effects using chimes, marimbas, temple blocks, vibraphone, celesta and other less-than-familiar percussion devices.
Skrowaczewski may have seemed self-effacing when he directed applause to Kuenzel, but it's not like the soloist didn't earn it. It was an exemplary performance exhibiting great technical skill and musical interpretation.
David Hawley, Pioneer Press , October 2007
German Reviews
Brucknerfest: Bruckner Orchester Linz, Stiftskirche St. Florian / Bruckner Symphony No. 5
„Skrowaczewski hat auf Grund seiner tiefgreifenden Einsichten und langen Erfahrungen eine überaus spannende, wirkungsstarke und ebenso anrührende Interpretation geliefert. Mitgespielt haben auch das mystische Halbdunkel und die Akustik der Barockkirche."
"Das Linzer Orchester konnte zeigen, wozu es fähig ist – ein herrlich ausgewogenes, präzises und deutliches Spiel."
"Es gelang eine denkwürdige Aufführung. [...] Es folgten Bravorufe, und tosender Beifall überschüttete den Dirigenten."
Franz Zamazal, Oberösterreichische Nachrichten (Linz), October 2010
hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra) / Chopin, Shostakovich
„Es gibt gute Gründe, das Saisoneröffnungskonzert des hr-Sinfonieorchesters in der Alten Oper als eines der brillantesten und großartigsten in der Geschichte dieses Ensembles einzustufen. Hauptakteur dieses in solchem Ausmaß seltenen Glücksfalls war der Dirigent Stanislaw Skrowaczewski. Man erinnert sich gern an diesen Musiker, der vor vier, fünf Jahrzehnten immer wieder auch Gast führender Klangkörper in Amerika und Europa war. Als Bruckner-Interpret ist er fast eine Legende. In vier Wochen wird Skrowaczewski die Vollendung seines 87. Lebensjahres feiern - ein körperlich relativ fit wirkender Mann, ein enorm wacher Geist, ein agiler Künstler.“ „Strukturelle Klarheit herrschte noch im größten Orchestergetümmel, die Dynamik wurde in größtmöglichen Kontrasten polarisiert, hervortretende Einzelstimmen [...] ließ Skrowaczewski so expressiv wie möglich zur Geltung kommen.“
FAZ Rhein-Main-Zeitung, September 2010
„Der 86-jährige Dirigent und Komponist wartet seit einem halben Jahrhundert mit großen Erfolgen auf, seit 1979 war er mehrmals mit den HR-Sinfonikern als Gastdirigent aktiv. Gemeinsam mit Kupiec am Flügel gelang ihm mit Chopins Klavierkonzert ein brillanter Saisonauftakt.“
„Mächtig und kühn intonierte das Orchester unter Dirigent Skrowaczewski die Komposition.“
„Niemand konnte sich der Klangkraft entziehen, die Musiker wurden mit stürmischem Applaus belohnt.“
Alsfelder Allgemeine, September 2010
„Für die Musik polnischer Komponisten ist das quasi die ideale Besetzung. Der mittlerweile 87 Jahre alte Stanisław Skrowaczewski hat seine Leidenschaft für seine Landsleute auch in den langen Jahren seines Wirkens bei amerikanischen Orchestern niemals aufgegeben.“
„Als wollte man einen guten alten Bekannten begrüßen, musizierte das Orchester mit makellosen Streichern und tadelloser Ausgewogenheit.“
„Auch hier [in Schostakowitschs 5. Sinofnie] zeigte sich der betagte Dirigent noch immer mit allen Wassern gewaschen und entlockte dem Klangkörper ein großformatiges, farbenreiches Spiel.“
„Inmitten der Musiker nahm der große alte Herr am Pult den dankbaren Applaus entgegen.“
Frankfurter Neue Presse, September 2010
Deutsche Radio Philharmonie / Skrowaczewski, Beethoven, Brahms
“Dirigent Stanislaw Skrowaczewski hatte eine „Music for winds“ komponiert, deren üppiger romantischer Bläserbesetzung er drei Saxofone, Klavier, Celesta, Harfe und Schlagzeug zur Erweiterung der Farbpalette hinzugefügt hatte. Er empfindet sein Stück als resignative Reaktion auf den gegenwärtigen Verfall der „großen Kunst“ und der ihr nachfolgenden „Scheinkultur“. Ein tragisches Werk, charaktervoll instrumentiert, mit klangschönen Hoffnungs-Momenten, aber auch aggressivem Aufbegehren.
Makellos das Zusammenspiel mit dem Orchester, dessen Part von Skrowaczewski fein gewoben wurde. Auch die "Opernszene" des Mittelsatzes war durchlichtet von klassischer Einheit und musikalischem Miteinander der Interpreten. Eine glänzende Aufführung, mit stürmischem Applaus bedacht.
Für Brahms' "Vierte" muss der Dirigent die Dichte der Partitur in klangstarkes Passionato umsetzen, immer wieder die Glut entfachen bis kurz vor den Ausbruch des Vulkans. Skrowaczewski (86) war glutvoller Sachwalter: Dramatik in jeder Phase und dazu Tiefgründigkeit, gepaart mit bewundernswerter Partiturtreue. Das Orchester war in Hochform.“
Saarbruecker Zeitung, December 2009
Dresden Philharmonic / Bruckner, Szymanaowski
“Hatte Stanislaw Skrowaczewski dem Solokonzert schon eine Partnerschaft geboten, die er ohne großen Aufwand mit großer Übersicht erreichte, so wurde mit Anton Bruckners 2. Sinfonie c-Moll deutlich, mit wie wenig sichtbaren Impulsen auch ein solcher „Brocken“ zu steuern ist. Welch Unterschied zu springenden, fuchtelnden, tänzelnden „Pultstars“! Dem Dirigenten verdanken wir eine Gesamtaufnahme der Bruckner-Sinfonien, was ihn zu Recht in die Reihe der Spezialisten stellt.
Schnell ahnte man, welch intensive Probenarbeit zugrunde liegen musste, um den hohen Rang der Ausarbeitung zu präsentieren. So konnte Skrowaczewski mit wenigen Mitteln die Balance halten. Er ließ den Philharmonikern viel „Spiel“-Raum, was sie ihm mit großer musikalischer Hingabe dankten.
Auch im aus vielen Bildern gefügten Finale wurde deutlich, dass wir es mit einem Dirigenten zu tun hatten, der es verstand, die mannigfaltigen Potenzen der Philharmoniker zu nutzen, sie in den Dienst einer stürmisch bejubelten Aufführung stellte.“
Dresdner Neueste Nachrichten, November 2008
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